Zheng Jingkang's Personal Life

1930, Hong Kong Jingkang Photography Studio opened. He is good at shooting portraits, landscapes, people's lives and news. He held a personal photography exhibition in Peiping (now Beijing) from 65438 to 0934, and was the photographer who held a personal photography exhibition earlier in China.

After the outbreak of War of Resistance against Japanese Aggression, from Hongkong to Wuhan, he served as the director of the photography studio of the International Propaganda Department of the National Government, took a lot of photos about the activities of resisting Japan and saving the nation and exposing the atrocities committed by Japanese invaders, and made a photo report on the front line of Taierzhuang Campaign. /kloc-arrived in Yan' an at the end of 0/940 and worked in the Propaganda Department of the Eighth Route Army General Political Department and other units. He took a lot of precious photos reflecting the revolutionary struggle, production and construction of the CPC Central Committee and the border region, and held a personal photography exhibition.

From 1942, a photography training class was held in Yan 'an, and a large number of revolutionary photographers were trained. In the same year, as a representative of photography, he participated in the Yan 'an Forum on Literature and Art and published important opinions on developing photography in anti-Japanese democratic base areas.

1945 * * Joined China. During the third revolutionary civil war, he worked as a photojournalist and newspaper leader in Shanxi-Chahar-Hebei Pictorial, Shandong Pictorial and Northeast Pictorial. After the founding of People's Republic of China (PRC), he served as the director of the research office of the Press and Photography Bureau of the General Administration of Information of the Central People's Government, the director of the portrait room of Xinhua News Agency, the researcher of the photography department, and the executive director of the China Photography Society.

1978 died of illness.

His portraits of painters, scientists and hero models from Zhu De, Ye Jianying, Qi Baishi, China and other countries have both form and spirit, and are of high artistic value. They are the treasures of photography art in China, and the photos taken are very particular about lighting and composition, which is a typical combination of realism and romanticism in our photography career.

1in April, 904, Zheng, a bourgeois reformist and progressive thinker in China, was awarded the fourth son Zheng Jingkang during his tenure as the general manager of Guangdong Land Purchase Bureau of Guangdong-Han Railway. Because Zheng joined the League founded by Dr. Sun Yat-sen in his early years, he also handled many affairs that were beneficial to national industry and commerce from the standpoint of patriotism. Zheng Jingkang was influenced by his father's progressive thoughts and patriotic words and deeds since he was a teenager.

Zheng Jingkang once said: He accepted some of his father's ideas, mainly national consciousness, patriotism, sense of justice and enterprising spirit. However, because Zheng is a reformist thinker, his activities are mostly economic and industrial and commercial. Therefore, he advocated continuing his long-cherished wish and starting a business, which Zheng Jingkang could not accept. Because Zheng Jingkang was interested in painting and photography, he finally chose photography as a revolutionary life weapon and became a famous photographer in China and one of the pioneers of revolutionary news photography.

1920, after Zheng Jingkang graduated from middle school at the age of 7, his father sent him to Shanghai Youth Conference Business School. But one year after his father's death (1923), he left the business school and was admitted to Shanghai Academy of Fine Arts to study painting and photography at the same time, and began to study the art of photography.

/kloc-in the summer of 0/929, he sold his father's legacy, left Shanghai and opened a "Jingkang Photography Studio" in Hong Kong, specializing in portrait photography. A few years later, he accumulated rich experience in portrait shooting skills and darkroom technology. 1932 In the spring, in order to be closer to nature and reflect the beautiful mountains and rivers of the motherland and people's lives, Zheng Jingkang left Hong Kong and returned to the mainland. Since then, his photographic creation has shifted from portrait photography in the studio to a wider field, extending to landscapes, flowers, dramas, folk customs and other themes. In the next four years, he traveled to Guangdong, Shanghai, Beiping, Tianjin, Nanjing and other places, and took a lot of photos showing the majestic rivers and mountains, beautiful historical sites and touching folk scenery of the motherland, as well as some works that used flowers to play or reflected the life of the lower working people, and accumulated a lot of achievements.

Encouraged by friends and colleagues in the literary and art circles, Zheng Jingkang's personal shadow drawer was opened in Beijing on June 1934 1 1. This exhibition contains more than 100 works created by him over the years, which are divided into four categories: "scenery", "flowers", "folk customs" and "drama", with rich and colorful contents. Originally, it was planned to show Seven Doors a Day for only one week, but the exhibition was temporarily extended for seven days due to its warm welcome and favorable comments.

This exhibition has been well received by all parties. At that time, the Beijing Morning Post published an article saying that Zheng Jingkang was a "famous photographer in South China" and that "Jun Zheng's works, whether in materials, ideas or darkroom techniques, have reached their peak and are rare works. I also appreciate it. Some of these works are "masterpieces", "extraordinary works" and "sighs". 1in the spring of 935, at his initiative, a total of 18 photographers in Peiping held a joint exhibition of their works. There are 238 photos on display, of which Zheng Jingkang exhibited more than 100, accounting for half of the total.

During this period, his works, like his solo exhibition, were highly praised. In the process of reporting the joint exhibition, Beiping Morning Post also mentioned that "major newspapers in Beiping and Tianjin are most satisfied with Zheng Jingkang's works" and so on. It can be seen that Zheng Jingkang at that time was already a well-known photographer with great achievements in the north and south of the country, and he also achieved high attainments in his own artistic creation. In his works reflecting the real life of the motherland, people realize that he is a people's artist with strong patriotic enthusiasm and obvious progressive thoughts, and an intellectual with a sense of national justice.

In his works, you can see the true record of people's life and the beautiful natural scenery of the motherland. Zheng Jingkang's article "The Needs of the Times from Film Learning to Propaganda" published in February 1934+ 18 of Beiping Morning Post can well represent Zheng Jingkang's thoughts in this period. He said that the people in China seen by outsiders from photos (mostly taken by them) are "women who bind their feet, cowardly scholars with braids, emaciated female workers, workers with sad faces and lifeless faces, uncivilized clothes and boring life, etc.".

Therefore, "we should have the mission of trying our best to publicize the beauty of China. We should proudly show the scenic spots in China from the aesthetic point of view. We will publicize the architectural monuments and scenery with oriental beauty in the history of China with wonderful composition. We should take photos of China's simple folk customs in joy. We should also regard everything in China as symbolic drama and folk ingenuity that westerners have noticed today.

This passage written by generate shows the author's enthusiasm and artistic responsibility for the motherland and people. Even today, it can still be the direction of painting and photography. How rare it is for Zheng Jingkang to have such a grand artistic ambition in China, which was poor and weak in the 1930s! After the "July 7th Incident", the Chinese nation was facing a critical moment of life and death, and the party members lit a bonfire in War of Resistance against Japanese Aggression.

At this time, Zheng Jingkang, who returned to Hong Kong for photography, felt deeply that "every man is responsible for the rise and fall of the country" and was determined to "take photos about the war of resistance and contribute his own strength to the war of resistance". At the beginning of 1938, he left Hong Kong and went to Wuhan via Guangzhou to participate in the anti-Japanese and national salvation work. During this period, he served as the director of the photography studio of the International Propaganda Department of the National Government, risking his life to take a number of photos exposing the crimes of Japanese aggression against China. Some of them are powerful historical testimony of the barbaric acts of the aggressors who caused great disasters to our people. For example, 1938 "The Tracker" shot in the disaster area after the breach of Huayuankou levee, and 1938 "Mother" shot in Yingwuzhou, Hanyang, are all works of this period.

1one day in February, 940, Zheng Jingkang came to Zeng's "Zhou Mansion" with the help of the Eighth Route Army's office in Chongqing, met the beloved Vice Chairman and Comrade Ye Jianying, and listened to the cordial encouragement from the Vice Chairman. Later, with their care and help, he secretly left Chongqing and went to Yan 'an, the revolutionary holy land, which started a new milestone on his revolutionary road and made him achieve higher achievements in photography.

In Yan 'an, Zheng Jingkang was cared, valued and cultivated by the Party. From 194 1 1 to 1945 1, he worked as a reporter and photographer in the Propaganda Department of the Eighth Route Army General Political Department and the Propaganda Department of the United Political Department, and participated in China with honor. He overcame the difficulties such as the lack of photographic equipment and difficult living conditions, actively carried out his work, and used photography to "sing praises to the people and expose the enemy", which made important contributions to the establishment of our party's news photography.

1942 In May, Zheng Jingkang attended the Yan 'an Forum on Literature and Art as a photographer, listened to Chairman Mao's speech, and was received by Mao Tuxi. During this period, Zheng Jingkang held a solo film exhibition. Xiao, then the propaganda minister of the General Political Department, named it "A Corner in the Early Period of the Anti-Japanese War", which was welcomed by Yan 'an military, civilian and literary circles. Ren and He Long were the first audience of the film festival. Comrade personally watched and praised Zheng Jingkang's photography art. After reading it, Li personally wrote a letter to Zheng, encouraging him to better reflect the construction and struggle life of the soldiers and civilians in the Shaanxi-Gansu-Ningxia border region with photography.

Zheng Jingkang lived in Yan 'an and fought for five years. From the caves in Yan 'an to Baota shan, from the Peace Hospital to the Institute for Nationalities, from the Senate of the Border Region to the mass production movement of the army and the people, he created inexhaustible Xinjiang materials. These works truly reflect the unity between the army and the people in the border area, and the face of life, production, fighting and study, and become rare and precious historical materials. Among them, 1944' s first standard photo taken for comrades, 1945' s photo entitled "Between Waves" taken at Yan 'an Airport when comrades went to Chongqing to participate in the Kuomintang-Communist negotiations, and a large number of historical photos he took for central leaders such as Zhu De, Chen Yi, Ye Jianying, Lin and Ren became important materials in the history of the Party. His works such as Northern Shaanxi and Jiangnan, Autumn in Nanniwan and Reclamation have also become important fragments in the revolutionary picture.

1945165438+10 In October, Zheng Jingkang left Yan 'an with Comrade Hu Yaobang and went to the front. He has been engaged in photography interviews in Shanxi-Chahar-Hebei Pictorial, Shandong Pictorial and Northeast Pictorial, and served as the leader and training of photography. A large number of photojournalists have been trained, and many photos of great value have been taken, reflecting the historical features of China People's Liberation Army's heroic fighting and victory.

After the liberation of China, Zheng Jingkang successively served as the director of the research office of the Press and Photography Bureau, a reporter and researcher of Xinhua News Agency, the executive director of the China Photography Society and the director of the creative counseling department, and actively engaged in the research of news photography, camera photography and photography theory. From March 65438 to March 0957, his solo photography exhibition was held in Beijing Shuaifuyuan Artists Association, which was the first solo photography exhibition held in China after the founding of New China, and played a positive role in promoting the creation of China's photography art. 1During March 1962, Zheng Jingkang and Liang Sicheng held an "Inner Mongolia Photo Exhibition" in Jing nationality, and collected 88 works by Zheng and Liang, which better reflected the spiritual outlook of the people of all ethnic groups in Inner Mongolia in building socialism and showed the scenery of grasslands, pastures and yurts in Inner Mongolia, which was appreciated by people.

1942 during the Yan' an forum on literature and art, Zheng Jingkang put forward three suggestions on developing photography, the first of which was to hold a photography training class to train photographers. He personally compiled the teaching materials for the photography training class and trained a group of cadres on the news photography front. From the foot of Tianshan Mountain to the coast of the East China Sea, from Songliao Plain to the banks of the Pearl River, there are his students.

Zheng Jingkang summed up his creative experience for many years in six words, namely "seeing, thinking and gaining". His basic shooting method is "snapshot". In his view, photography is an artistic means to record and reflect reality with the scientific tool of camera, which can satisfy people's desire of "seeing is not as good as seeing" and has unquestionable effect.

Therefore, "the difference between photography art and other art forms and its most valuable point is that it faces reality and directly reflects real life in the form of life itself" and "reflects real people, real events, real scenes and true feelings", which violates this point and "loses the unique characteristics, soul and necessity of existence of photography art itself". He also pointed out that "taking photos should proceed from reality, be faithful to the true colors of reality, pay attention to the characteristics of photography, and don't play tricks."

Only in this way can photographic works have vitality and appeal. ""Give full play to the fighting role of photography. "It is precisely because of this ideological foundation that he never directed and interfered with the subject according to his own subjective ideas, but went deep into the scene, observed the choices, grasped the dynamics, and made his works vivid and natural, with a strong flavor of life. In Yan 'an, Chairman Mao once praised his photographic works for "grasping the dynamics". Such as "HongLing Dance" and other photos, fully demonstrated this feature.

Of course, paying attention to the true reflection is not shooting at everything you see. Therefore, Zheng Jingkang believes: "What we require is not only a general reflection (reality), but a true and accurate reflection, which is higher and more beautiful than reality." He often emphasizes that his works should reach the height of "consistency between things and me", accurately express the essential meaning of objective things, that is, "the meaning of writing things", and express the author's distinctive political views and thoughts and feelings, that is, "writing about my feelings". These theories and his years of practical work are the ideological basis and good reference for the majority of photojournalists since the founding of the People's Republic of China.

In the past 50 years, Zheng Jingkang's creative themes and genres are rich and diverse. The scene of news events, all kinds of characters, the magnificent scenery of the motherland, colorful stage plays, colorful flowers, the brutal crimes of the enemy and the endless struggles of the soldiers are all outstanding in his lens. In particular, he took a photo of President Mao Zedong in 1964, which has been hung in the center of Tiananmen Gate in Beijing. It is generally believed that his creation has reached the artistic realm of "vivid charm", "both form and spirit", "not far-fetched, not carving traces"

1930 Jingkang Studio was established in Hong Kong, engaged in portrait photography.

After 1938, he served as the director of the photography studio of the International Propaganda Department of the Political Department of the Military Committee of the Kuomintang government.

From 65438 to 0940, he went to Yan 'an and worked as a photographer in the Propaganda Department of the Eighth Route Army General Political Department.

1944, the first standard image was taken for Mao Zedong.

1945, I took a photo "Between Waves" when Mao Zedong went to Chongqing for negotiations at Yan 'an Airport.

1945 joined China. Later, he served as deputy section chief of photography department of Shanxi-Chahar-Hebei Pictorial newspaper and director of photography department of Northeast Pictorial newspaper.

After the establishment of People's Republic of China (PRC), he served as the director of the research office of the Photography Bureau of the General Administration of Press, a special correspondent and researcher of the Photography Department of Xinhua News Agency, and the first and second executive directors of the China Photographers Association. His works include Tramp, Qi Baishi and Red Silk Dance. Author of "Preliminary Photography Creation".